Discussion

In the preservation of digital art, documentation is filling the gaps in between manifestations of a piece. When an installation is set up in a gallery, digital

Todays digital preservation practice focuses mostly on fixed or complete objects, which are defined by their manifestation as files or records with the assumption that if one has the file(s) at hand, the preservation or curational effort can be focused on the local content only. With increasing importance of networked objects or software, object boundaries appear increasingly “blurry”: for instance, many software applications are staged to look and be- have like locally running binaries, when in fact an orchestration of networked processes is required for their operation. To cope with apparently infinite objects and their increasing complexity, this paper explores an expanded definition of object boundaries for performative objects.

Abstract: The article focuses on current approaches and potentials for emulation technologies within the cultural sector. In order to mark the field, practical examples are given. They convey some of the interests of “computer culture enthusiasts”, who engage themselves within cultural production and preservation. In order to sustain their heritage, they have started applying emulation technologies long before traditional institutions. Furthermore, institutionalized interests of cultural memory institutions are explained. Opposed to the enthusiasts’ examples, they focus on the process of value creation within the cultural sector. Opposed to the formerly given examples, this approach is normally centered on (single) “objects” and their specifity, originality, authenticity etc. Coming to a conclusion we ask how far these two seemingly opposing lines might become reconciled. The theory of digital memory seems to be adapted for this alliance and broadens an outlook on future research activities.